Same set. Same light. One campaign.
SET PHOTOGRAPHER IN HAMBURG: STILLS IN THE LOOK OF THE FILM
Wherever the cameras roll, I create the images for posters, ads and social – same scene, same light.
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REFERENCES
Recently on set
THERMOMIX TM7
Agency Ogilvy · Production Ars Thanea · Director Florian Meimberg
KAUFLAND “MAREK WŁASNY”
Agency Space of Ad · Production Papaya Films · Director Marcin Dubiniec
NUTELLA “BAKING QUEENS”
Most recently as set photographer on the international launch campaign of the Thermomix TM7, the Kaufland Poland commercial “Marek Własny” and the Nutella campaign “Baking Queens” with Lena Meckel – plus Lidl, Almette and QUÄSE. I am booked in Hamburg, across Germany and internationally.
WHAT YOU GET
One set, two results
The set is built. The light is up. The cast is there. It doesn’t get any better for a campaign image. As a set photographer, also known as a unit stills photographer in the film industry, I plan fixed photo slots with the production for the key visuals. Around the takes, further stills are created – real photographs, not frame grabs. In the end, film and campaign are cut from the same cloth.
HOW I WORK
Right in the middle, never in the way
BEFORE THE SHOOT
Every set has its own rhythm. After more than 20 years in advertising, I know it. Before the shoot, I coordinate with the agency, the director, the DP and the first AD: which images are needed and where they fit into the shooting schedule.
ON SET
On set, I don’t just use the photo slots. When it works, I shoot alongside the camera and capture exactly the moments that appear in the film. That way, spot and stills tell the same scene – and the crew doesn’t lose a minute.
CONFIDENTIAL
I shoot silently with an electronic shutter and stick to the slots we agreed on beforehand. Confidentiality goes without saying – I’m happy to sign an NDA.
REAL STILLS
Real images from a real set
A lot is created on a computer these days. But films are still shot – with real people, real light and real food. That’s exactly where images are made that people believe.
CAPE TOWN
Set photography in Cape Town
From October to March I can also be booked out of Cape Town, as a set and unit stills photographer on commercial shoots and for campaign productions. From three shooting days with no travel costs from Germany. I know Cape Town well: I have shot many productions there, for clients such as Kaufland and Lidl. For Lidl, among other things, I spent three weeks travelling across South Africa, on fruit and vegetable plantations.
“He often shoots alongside TV productions, fits in seamlessly and delivers the perfect coverage for print and social media material.”
“The exchange before, during and after the productions is on equal footing – very productive and creative. For me, a clear five stars.”
JAN REINHUBER
HEAD OF MARKETING / MANAGING DIRECTOR
KAUFLAND POLSKA
FAQ
Frequently asked questions
INQUIRY
Shooting schedule ready? Send it over.
Location, dates and your idea in two sentences are all I need – then we talk stills.
Quote within 24 hours.
They shoot the campaign images on the shoot day – usually in dedicated slots – plus side shots around the takes. All in the look of the film.
In advertising, the role is called stills photographer or set photographer; in film and on Crew United it is usually unit stills photographer. Either way, it means the photographer on set who shoots the campaign stills alongside the filming.
Yes, when the shoot allows it. In agreement with the director and the DP, I shoot alongside the camera. That way, stills capture exactly the moments that appear in the film.
Yes. On request, I also photograph the making-of: crew, director and cast at work, on the same set. On set, making-of is also called behind the scenes or BTS.
Ideally during pre-production. Then the shot list, schedule and lighting take the photo motifs into account, and no minute is lost on the shooting day.
Yes. I shoot stills and key visuals alongside the filming without slowing the set down. Commercial, corporate film or campaign: you end up with film and photos from one set.
Both, and clients directly as well. Depending on the project, the request comes from the agency, the production company or the brand itself. On set, I coordinate with everyone involved in the film and the campaign.
I make a first selection on set. Once the final selection is set, the images go into post-production, in the look of the film. For this I work with post-producers. We agree on the delivery time for each project – and it stands.
Yes, as a set and unit stills photographer across Germany, a lot in Berlin and Munich, also in Frankfurt – and internationally, including Poland, Spain, Norway and South Africa.
Yes. From October to March I am also available from Cape Town, for set photography and campaign shoots. From three shoot days, no travel costs from Germany.
That depends on the shoot days, subjects and usage rights. A separate photo day means studio, lighting, talent buyout, styling and agency support all over again. Shooting alongside the film only adds photographer, assistant and retouching. Send me a short briefing and you’ll get a quote within 24 hours.
Silently, with an electronic shutter, and only when the director and camera team give the go-ahead. Otherwise the images are made in dedicated slots and around the takes.
Everything from one set, depending on the brief: key visuals for the campaign, stills from the commercial for all channels and, on request, making-of, also called behind the scenes or BTS. We agree before the shoot what is needed for what.
“Whether as a food photographer or as a set photographer who works closely with the DOP to create the campaign images in the look of the film: Andreas is incredibly versatile, and in this combination a real asset to any production.
[…] Everyone loves working with him. Me too, by the way!”
FLORIAN MEIMBERG
DIRECTOR · INCLUDING THERMOMIX TM7
“All three very different productions ran absolutely smoothly, respectfully, creatively and with a matter-of-course professionalism, with Andreas as set photographer and stills photographer.
[…] We worked hand in hand beautifully, and nobody had to compromise.”
JONAS WINTER-SCHOLZ
DIRECTOR OF PHOTOGRAPHY
